Speaking Muse Literary Declamation in Germany, 1750-1900
Produktdetaljer
Biografisk notat
Mary Helen Dupree is Associate Professor of German at Georgetown University, USA. She is the author of The Mask and the Quill: Actress-Writers in Germany from Enlightenment to Romanticism (2011) and co-editor (with Sean B. Franzel) of the volume Performing Knowledge 1750-1850 (2015).This book is a captivating exploration of the art of declamation during the 19th century, examining the powerful impact of auditive aspects on the fields of literature, rhetoric, melodrama, and performance. Shifting the focus from the pedagogical benefits of declamation to its role in the cultural sector, this study highlights its particular importance during the pivotal transition from the semi-professional to the professional sphere.
Sigrid Nieberle, University Professor of Modern German Literature, TU Dortmund University, Germany
As the first English-language book-length study of literary declamation in the German context, The Speaking Muse is long overdue, for it sheds important light on widespread, yet long-neglected cultures of literary performance in German-speaking lands. Mary Helen Dupree’s theoretically informed approach to declamatory performance and its intermedial resonances in print is a model of cultural studies scholarship and should be of broad interest to scholars working at the intersections of performance history and media studies.
Sean Franzel, Professor of German and William H. Byler Distinguished Chair in the Humanities, University of Missouri, USA
The Speaking Muse challenges the dominant narrative of the print's monopoly in German media studies, examining how oral reading practices such as literary declamation flourished alongside silent reading practices.
How did German readers experience the German literary canon in the 18th and 19th centuries – through silent reading or by ear? The Speaking Muse: Literary Declamation in Germany, 1750–1900 traces the impact of a forgotten culture of literary orality in the German-speaking world, from its early flourishing in the late 18th century to its popularization in the Wilhelmine era. In the wake of the “reading revolution” of the 18th century, oral reading practices proliferated alongside silent ones and became a central element in what Abigail Williams has called the “social life of books” for a diverse range of audiences and participants.
Mary Helen Dupree shows how the culture of literary declamation, from recitation anthologies to declamatory concerts that combined music and spoken word, afforded new opportunities for interacting with literature for a variety of audiences, including women and marginalized “others,” while fostering innovations in publication, pedagogy, and performance.
Working at the intersection of literary history, performance studies, sound studies, and print history, The Speaking Muse shows that the cultures of declamation and print in the 18th- and 19th-century German-speaking world were not strictly exclusionary, but were intertwined.
List of Figures
Acknowledgments
Introduction: "The Elements Obey My Voice"
1. A Standing Army of Declamators: Performing Gender and the German Nation in the Declamatory Concert
2. A Voyage by Water: Christian Gotthold Schocher (1736–1810) and the Theory of Literary Declamation
3. The German Recitation Anthology: Transcription, Remediation, and Performance
Conclusion
Bibliography
Index
This series offers a forum for the publication of new works in all areas of German Studies (German, Austrian, and Swiss literature, culture, and cinema from any period). New Directions in German Studies welcomes proposals that offer a fresh perspective on any vibrant aspect of the field.
A long and venerable tradition of "Germanistik" has been opened up in exciting ways in the past few decades. The series taps into that tradition and its growth into German Studies, reframing aspects of the discipline in light of concerns germane to these fields: German, Austrian, or Swiss national identity and aesthetics; historical approaches to German-language literature and cinema; the legacy of the Holocaust and its influence on aesthetics; politics and aesthetics; issues of canonization and periodization; the place of gender, queer, and postcolonial studies within German Studies; the aesthetics of exile; myth and national identity; cross-cultural dialogues and aesthetics; material culture; German-language aesthetics and globalization. New Directions in German Studies incorporates interdisciplinary approaches to the analysis of the rich intellectual and cultural histories of the German-speaking countries. The series showcases studies focusing on hitherto underrepresented authors, as well as projects that seek to reframe canonical works in light of new perspectives and methodologies.
Editorial Board: Katherine Arens, Roswitha Burwick, Richard Eldridge, Erika Fischer-Lichte, Catriona MacLeod, Stephan Schindler, Heidi Schlipphacke, Andrew J. Webber, Silke-Maria Weineck, David Wellbery, Sabine Wilke, John Zilcosky